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Discipline:

Design Education Strategy

There has never been a better time for tertiary curricula to provide a learning framework for the development of personal as well as professional ethics and accountability. Research shows that tertiary education today should address the development and transformation of the self (Mezirow

OgilvyEarth: is this what a future communications agency looks like?

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Discipline:

Media & Communications Design

Viktor Papanek, in his seminal book about ethics and design, Design for the Real World: Human Ecology and Social Change (1971, revised 1984) declares that designers share responsibility for humankind’s environmental mistakes, by all the products and tools that they have sold and created, either by bad design or by turning a blind eye (1984, p. 56).

Corporate social responsibility: An exploration of initiatives in clothing brands

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Discipline:

Fashion, Jewellery & Textile Design

Ethics and accountability in design appear to have increased momentum as individuals and corporations are increasingly conscious of the detrimental implications of immoral business practices. The accountability and responsibility of both individuals and organisations are significant to business practice. This has become increasingly apparent due to the role business must play if humanity and the environment are to thrive in future. Corporate social responsibility (CSR) is mounting in emphasis within corporations, as identified through various bodies of research. This paper positions ethics and accountability in design practice from the lens of CSR initiatives.

Research Ethics for Practice-Led Research Methodologies in the Creative Disciplines

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Discipline:

Design Education Research

Research in the creative arts for qualification purposes has developed since the late 1980’s to include creative practice as aspects of both methodology and outputs. The nature of the creative process, and what has been deemed as useful to artist/designer academics, has resulted in many research projects driven by a single researcher, addressing problems of practice from a subjective perspective, with the researcher and the researcher’s actions becoming both the object and subject of the research. This kind of research does not involve other participants and is therefore seemingly precluded from ethical discussion.

Interior design’s occupational closure: an ethical opportunity

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Discipline:

Interior & Furniture Design

In March 2015 the South African Council for the Architectural Profession (SACAP) announced its intention to register new professional categories for interior designers. This will provide statutory recognition for the professional status of the interior design occupation and it will allow interior design occupational closure, a state where both the practice and title of the occupation will be regulated.

To reach this milestone interior design’s practical and scholarly endeavour was focussed on the professionalisation of the discipline; a lacuna was produced in which the discipline did not adequately consider a separate identity for interior design. The pursuit of a stronger discrete identity could provide a stronger professional identity (Breytenbach, 2012).

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Discipline:

Fashion, Jewellery & Textile Design

The multifaceted and complex phenomena of ethics and accountability have relevance for the current discourse of fashion design. This is evident in the choice of materials used, the conditions under which clothing is produced, as well as how designers think about and implement the practice of fashion. Fashion practice has environmental and ethical impacts that ultimately connect human wellbeing and society with sustainable practice.

Wicked ethics in Design

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Discipline:

Media & Communications Design

Wicked problems are wicked because, amongst other things, understanding problems as existing in society, at the intersection of many possible points of views held by a variety of potential stakeholders introduces indeterminacy. Ethical frameworks in this context may also be multiple and may exist in harmony or dis-harmony alongside each other.

Keywords:

Discipline:

Fashion, Jewellery & Textile Design

Repurposing images has become an integral part of the ideation phase of fashion design processes. The use of online images presents both a challenge and an opportunity for fashion design students who use images of others to communicate a design concept through mood boards. The challenge pertains to the authenticity of their design concepts.

Although the authors of this paper acknowledge the importance of referencing of visual material as a strategy to prevent plagiarism, the argument is made that compilation of mood boards with existing images can be further explored, especially with regard to the accountability of an individual in relation to the concept authenticity.